I recently attended the Glasgow launch of Helen Taylor’s debut novel The Backstreets Of Purgatory. It was a fascinating and refreshingly different approach to a book event. Instead of the usual chat with chair/readings/Q&A format Taylor replaced the former with a talk on the life and work of the infamous Italian painter Caravaggio (along with an old-school approach to slideshows – see right) to a packed Byres Road Waterstones.
This decision was not as left-field as it may sound as Caravaggio not only plays a major part in the plot of The Backstreets Of Purgatory, but also the structure, with chapters being named after the artist’s paintings (a selection of which are at the bottom of this review). But the important question is, “Is the book any good?”. The short answer is “Very”. The long answer begins now.
I had no knowledge of The Backstreets Of Purgatory before its launch, and only a little more than that afterwards as Taylor avoided spoilers even after her reading. The back cover proclaimed it as “Caravaggio In Glasgow, A Tale of Art, Insanity And Irn-Bru”. While pithy, that doesn’t begin to tell the whole story. Struggling Glaswegian artist Finn Garvie dreams of being the city’s answer to Michelangelo Merisi da Caravaggio, but spends most of his time contemplating work rather than creating it, occasionally caricaturing patrons of the local Bingo. His long-suffering girlfriend, Lizzi, senses he views their relationship in a similarly lackadaisical fashion. This is in part due to Finn discovering a new muse in the shape of au pair Kassia, who, to his chagrin, doesn’t want to know. Continue reading